alexandra coghlan
Bio
Alexandra is the classical music critic of the New Statesman, and has written on arts for The Times, The Independent, The Guardian, Prospect, Gramophone, Opera Now, The Oxford Times and The Monthly. She was formerly Performing Arts Editor at Time Out, Sydney. She writes about classical music, theatre and film for theartsdesk.
Articles By Alexandra Coghlan
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It all started on 09/09/09. That memorable date, September 9 2009, marked the debut of theartsdesk.com.
It followed some...
Album review: Mary Chapin Carpenter, Julie Fowlis & Kari...
It’s been five years since the last studio album by the inestimable Mary Chapin Carpenter, the lyrical and intimate The Dirt and the Stars...
Ben Elton, Duke of York's review - big subjects, big la...
Ben Elton loves a scrap. The Motormouth of yesteryear, who made his name attacking Margaret Thatcher and her policies (and being attacked by the...
David Lynch: In Dreams (1946-2025)
David Lynch’s final two features mapped a haunted Hollywood of curdled innocence and back-alley eeriness. Mulholland Drive (2001) seemed...
A Good House, Royal Court review – provocative, but imperfec...
Most Brits don’t know much about South Africa today, but we do know about house values, so this new comedy by South African playwright and...
Music Reissues Weekly: The Twilights - Twilights Time The Co...
On 26 September 1966, The Twilights set-off from Australia to Britain. The journey, on the liner the Castel Felice, took six weeks. A day after...
Sun Rings, Sacconi Quartet, Festival Voices, Kings Place rev...
What better way to start a season...
Album: Larkin Poe - Bloom
The Lovell sisters Rebecca and Megan can be heard supporting Ringo Starr on his new album of country songs, while at the same time their seventh...
A Complete Unknown review - how does it feel?
Being unknowable has been almost as much of a preoccupation for the erstwhile Robert Zimmerman as writing songs. Previously on film he has played...
Love Life, Opera North review - Lerner and Weill's blas...
The past is a foreign country: they do things differently there. But in Love Life, Kurt Weill and Alan Jay Lerner’s...